Frases de Pauline Kael

Pauline Kael foi uma crítica de cinema americana que escreveu para a revista "The New Yorker" de 1968 a 1991.

Recebeu o Ivan Sandrof Lifetime Achievement Award em 1999. Wikipedia  

✵ 19. Junho 1919 – 3. Setembro 2001
Pauline Kael photo
Pauline Kael: 72   citações 0   Curtidas

Pauline Kael: Frases em inglês

“It's sometimes discouraging to see all of a director's movies, because there's so much repetition. The auteurists took this to be a sign of a director's artistry, that you could recognize his movies. But it can also be a sign that he's a hack.”

"The Perils of Being Pauline" http://wrt102summer2005.blogspot.com/2005/07/pauline-kael-new-yorker-interview.html, interview with Francis Davis, The New Yorker (October 2001).
Interviews

“Irresponsibility is part of the pleasure of all art; it is the part the schools cannot recognize.”

Pauline Kael livro Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

“Movies are so rarely great art, that if we cannot appreciate great trash, we have very little reason to be interested in them.”

Pauline Kael livro Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

“If there is any test that can be applied to movies, it's that the good ones never make you feel virtuous.”

Pauline Kael livro Hooked

"Ersatz," review of Stand By Me (1986-09-08), p. 197.
Hooked (1989)

“Goodman: Imitation is the sincerest form of flattery.
Kael: I hate it. It is very creepy being imitated.”

Interview with Susan Goodman, Modern Maturity (March/April 1998) http://www.paulrossen.com/paulinekael/modernmaturity.html.
Interviews

“I am mystified. I know only one person who voted for Nixon.”

Attributed to Kael after the 1972 American Presidential election, which Nixon won easily. This misquote is presumably based on "I live in a rather special world." above, but there is no evidence that Kael was mystified or surprised by that election's outcome.
Misattributed

“What's disgusting about the Dirty Harry movies is that Eastwood plays this angry tension as righteous indignation.”

Pauline Kael livro Hooked

"Pop Mystics," review of Pale Rider (1985-08-12), p. 17.
Hooked (1989)

“The critical task is necessarily comparative, and younger people do not truly know what is new.”

Pauline Kael livro Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

“At the movies, we are gradually being conditioned to accept violence as a sensual pleasure. The directors used to say they were showing us its real face and how ugly it was in order to sensitize us to its horrors. You don't have to be very keen to see that they are now in fact desensitizing us. They are saying that everyone is brutal, and the heroes must be as brutal as the villains or they turn into fools. There seems to be an assumption that if you're offended by movie brutality, you are somehow playing into the hands of the people who want censorship. But this would deny those of us who don't believe in censorship the use of the only counterbalance: the freedom of the press to say that there's anything conceivably damaging in these films — the freedom to analyze their implications. If we don't use this critical freedom, we are implicitly saying that no brutality is too much for us — that only squares and people who believe in censorship are concerned with brutality. Actually, those who believe in censorship are primarily concerned with sex, and they generally worry about violence only when it's eroticized. This means that practically no one raises the issue of the possible cumulative effects of movie brutality. Yet surely, when night after night atrocities are served up to us as entertainment, it's worth some anxiety. We become clockwork oranges if we accept all this pop culture without asking what's in it. How can people go on talking about the dazzling brilliance of movies and not notice that the directors are sucking up to the thugs in the audience?”

Pauline Kael livro Deeper into Movies

"Stanley Strangelove" (January 1972) http://www.visual-memory.co.uk/amk/doc/0051.html, review of A Clockwork Orange
Deeper into Movies (1973)